NDACDA Chorister Fall Issue, 2014

The Chorister

North Dakota ACDA

TABLE OF CONTENTS: 1. The Chorister: Cover Page 2. Weber: Notes from the President 3. Popejoy: Four to Store 4. Archuleta: Procrastination Nation 6. Larson: Do More Than Diagnose 8. Raber: Synchronicity 10. Gerszewski: Cartoon Corner

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Surround the State in Song McIntyre: The Power of Music Lichtblau: Multicultural Music Barnum: Pathways: Sharing Gifts ACDA/ICEP Conducting Fellowship Tips for Jr. High All State Meet our Membership Photo Flash

The Future is Bright!

Michael Weber, NDACDA President The future is bright!

The possibilities are endless! I have the best kids ever!

I am so fortunate to work with these kids! I love my job! Hopefully we all have the opportunity to say these statements everyday.

Realistically, we are lucky if we can say them once a month—and probably not all at the same time.

But these statements are exactly why we continue to teach and work with students every year.

When we walked into our rehearsals on the first day of school this fall, whether it was our first year or the 21st year, we looked at the faces of our students and hopefully we saw their excitement for the beginning of the school year. They really are sponges waiting to be motivated and wanting to sing good music.

They are there because they need the gift that only music can give.

Each day will be a challenge for us to do our best as their teacher.

We have to rise above each obstacle and make sure that we give the gift of music to each singer. In return, we watch each student develop their talent and grow into the young adults who have a life-long skill. They are the future and the future is bright!

I challenge each of us to do something new or different this year. Look at different repertoire – sing a piece in a language – do an informance concert – invite parents to sing with their kids – do an a cappella piece – do a theme

concert – just try something. For me, it is always a challenge to do something out of my comfort zone.

My Norwegian/German heritage thinks that clapping on beats 2 & 4 is wildly nonconformist and wouldn’t be appropriate. But until we try, we will never know. The possibilities are endless!

It is relatively early in the school year, but I am motivated to work hard and to push my choirs to the next level.

When you find that m a g i c combination of good repertoire, willing singers, engaging rehearsals and a positive learning atmosphere, you are going to have a great year. What impresses me daily is the dedication that my students have for learning their art. Not every student has a great day, but I know my students will do what I ask them to do so that we grow together as musicians. I have the best kids ever!

Each rehearsal I work with students who either have chosen music as a profession or students who want to continue to sing in college. Someone in their life has given them the gift of singing and they were inspired to continue with singing in their college experience.

I thank all of you for the work that you do with your students. All of us at the collegiate level would not be able to do what we do without your

help. I hope you know that what you do each and everyday is important to those students.

We get the benefit of your work and we continue to help them grow as musicians. I am so fortunate to work with these kids!

Now as I look forward to the school year as it unfolds, I think of the opportunities and experiences that I will have with students and colleagues. There will be concerts and festivals and tours and conferences and meetings. All of these are good things. The one thing that is common to all of them is the fact that these are activities done with a community of teachers and students.

We can’t do it alone. We need people to make this all happen. We interact to create art or advocacy for the arts. It is a great vocation. It is a thrilling experience. It is a lifechanging career. It is a gift. I value our work together as we implement the mission of ACDA. I look forward to see you throughout the year and I wish you great success with all of your choirs. I love my job! p.s. Please consider attending the National Conference in Salt Lake City, UT. The dates are February 25-28. It is a great experience!

Check out this link: http://www.youtube.com/ watch?v=0zLE_Qa-QcQ (The link is also on the NDACDA webpage)

Four to Store...New Publications Melanie Popejoy, Community Choir R & S The amount of choral music that is printed every year can boggle the mind. Music retail owners listen each year to hundreds of pieces for their summer music reading clinics, whittling their selection to a small percentage of those that best fit their customers. One of the perks of being a Repertoire & Standards Chair for ACDA is receiving new music from publishers to peruse and share with our state members.

This article is the first of a three part series with suggestions of recent literature you may wish to use with your community ensemble. This first installment will focus on literature for the adult SATB Community Chorus. Future articles will provide suggestions for Community Children’s Choirs, as well as Community Men’s and Women’s Choruses.

While fall literature selections for your ensemble have already been made, here are “four to store” for future consideration with your SATB Community Chorus: The Music Sings in Them David L. Brunner Hal Leonard 48023044 SATB w/Organ Anyone familiar with David L. Brunner’s music knows that an interesting text is the cornerstone. The text of this piece comes from Medieval composer Guillaume de Machaut, with a bit of Charles Wesley’s “O For a Thousand Tongues to Sing.” The main melodic motive is presented in a simple legato style in the beginning, and then tossed back and forth with delicate fanfare lines that build to a strong ending. The organ accompaniment is the perfect vehicle to move the piece from simple to grand.

Buzzings 1. To make a prairie 2. A Bee his burnished Carriage 3. Bee! I’m expecting you!

Lee R. Kesselman G. Schirmer, Inc. 50499572 SATB a capella

Set to the poetry of Emily Dickinson, this collection of pieces offers opportunities for the conductor to play with a variety of vocal effects to bring them to life.

Included in the notes on the inside cover of the piece is a notational guide that assists the conductor in how to achieve those effects. Published as a part of the Dale Warland Choral Series, this is the perfect addition to your concert if you are looking for something both challenging and “whimsical.”

Star of the County Down Traditional Irish Folksong/Philip Lawson Hal Leonard 00123368 SATB a capella w/opt. Violin Unlike other settings of strophic folksongs, which often seem repetitive and stagnant, this Philip Lawson arrangement features variety and motion. The choral parts on some verses are homophonic, with the motion created by running eighth notes flowing from part to part. On others, each voice part is featured while the others keep the music flowing with an accompaniment of “doo” or “ah.” The violin part is featured in the opening and closing eight measures, and used as simple countermelody over one of the verses, creating a true Celtic sound.

Lay Earth’s Burden Down Paul Caldwell and Sean Ivory Hal Leonard 00127009 SATB w/Piano This original spiritual, commissioned by the Holland Chorale of Holland, Michigan, provides a unique take on a great choral tradition. While the history of the spiritual style is rooted in issues of slavery, Caldwell and Ivory have taken a current environmental issue and set it in this style that moves us to act. Chromatic lines, three key changes, and divisi in the soprano part makes this piece a little more difficult than it looks.

However, once the hand clapping parts begin, the audience cannot help but be swept up on their feet!

Procrastination Nation Mary Pat Archuleta, West Representative Procrastination. We’re a nation of procrastinators.

A procrastination nation, really. But I can tell you more about that later. ; ) I am not by nature a procrastinator. I plan meals a week in advance for my family. I do not go to bed until my kids’ homework is done – by the kids themselves. I answer emails as quickly as possible and dutifully check in on the lives of my many friends on Facebook. In short, I am responsible, timely and on top of things. Until now.

I’ll be completely honest with you. I was totally taken aback when I heard a couple of days ago that I had to have my column in today.

TODAY! Well, like the Girl Scout I am, I am prepared. To talk about what I want to talk about and so I will.

Like many of you, I have been a director of choirs for many, many years. Yet each year, I know that I will face a barrage of new challenges. Sure, there will be challenges from students and their parents, new district wide initiatives that were imposed without much consideration to the arts, and a number of student issues. Also like you, I can handle most of these issues with my eyes closed and my non-directing hand tied behind my back.

This summer was the longest summer I’ve ever had—not because it was awful. Quite the opposite. It was longer than most summer breaks because school began AFTER Labor Day, which hasn’t happened in the Bismarck Public Schools in ‘forever’! It felt good. I accomplished more this summer than ever.

Our family moved into a different home. I enjoyed great family time with my husband, children and grandchildren and felt ready to go back to school. The school year is quite a marathon, and music teachers know what summer really is—30-40% relaxation/ family time, but the rest of the time is spent dealing with the ever-looming decision of what literature to choose for my choirs?? For me, this single question turns July and August into an avalanche of ideas and dreams for the school year.

When June 30th arrives, an alarm in my brain sounds: I need to start my choral music search for the coming year.

Typically, I must listen to everything out there in the choral music world, attend 2 or 3 music clinics, and do everything humanly possible to exhaust all the new, and not to be missed ‘tried and true’ material available. My iPad becomes my constant companion and runs hot from all the time looking and listening to SBMP, Hal Leonard, Alliance and Walton websites, not to mention hours and days on YouTube.

I simply wasn’t in a hurry this summer. I was procrastinating a little. A good thing perhaps for me. So, I expanded on that no hurry attitude, and started to think maybe I wouldn’t obsess this year on how I would split all the divisi parts on every single song in each of my choirs either, and thought “do I really have to do printed out, color-coded handouts for students listing who would sing what this fall?”

I’ve done handouts for many years, but are they really necessary? Not everything has to be perfect and predetermined. Maybe I can just see what they sound like on the first day.

(Did I mention that I tend to be a little OCD?) So, in August before my 32nd start of the school year, I decided to wait with a few things, cut the fat and let go of a few of my methodical habits. It felt like procrastination, but it made sense.

This ‘winging it’ felt kind of good!

Since I wasn’t caught up with all of the minutia, I opened up my mind about the coming year and I came up with one of the best ideas I’ve ever had.

Pod Seating.

I know when my husband reads this, he’s going to say, “One of your best ideas is Pod Seating? You need to get out more.” But what does he know? One of his best ideas involved teaching the dog to drive. But I digress.

So, what if I didn’t seat kids in their typical sections in the beginning of the year?

(Soprano section, tenor section, etc.) What if I seat 2-3 tenors in a pod, and place a few of those pods in each of my four rows in my choir room. I can do the same thing with sopranos, altos and basses and sprinkle those pods around the others. Voila! A semi-mixed seating chart for the beginning of the year! I sat down with a blank piece of paper, charting out and labeling six to seven ovals/pods per

row. I began with sopranos and placed my strongest singers/readers in soprano pods throughout the rows, keeping height, etc. in mind. I paired that singer with a less strong or new individual and continued with that process until I had every member on the chart.

Let the mentoring begin!! This seating theory certainly seemed to have merit both on paper and off. Pod seating immediately demands a higher level of musical independence and compels all students to ask more of themselves. (It also completely eliminates that “zoo” mentality in my tenor section. I’m only half kidding, but you all know what I mean.)

School started and I realized the sky wasn’t going to fall if I didn’t have all of my concert themes determined. I planned music for my Fall and Christmas concerts for all of the choirs and I’m content with that.

We tried the Pod Seating within the first couple of days and the students LOVE it! Sight reading songs on the first couple of days went very well. Even though they weren’t safely seated in sections, they felt good being in smaller groups, and they could still hear one another around the room.

It made them LISTEN, to not only their own part but to everyone else’s, too. They were much more attentive, on their toes and my colleague, Ali Brink (who not only is my partner teacher, but my very own sister) are thrilled with the amount of work we’ve done in a short couple of weeks.

So give it a try, if you’d like. It may or may not work for you but in music, all good ideas are meant to be shared. Here’s to a wonderful year making beautiful music!

Do More Than Diagnose Danielle Larson, Junior High/Middle School Choirs Imagine visiting the doctor because you have all of the symptoms of a cold: runny nose, sore throat, cough, chills, etc. The doctor examines you and explains it is simply a virus and gives you no prescription.

Most people in this situation feel frustration and want more than just a diagnosis. Those feelings of frustration and confusion are what inexperienced singers face when we tell them, “That note in measure four was wrong!

Sing it again!” While it is important to diagnose the problems in a developing choir’s performance, they need specificity, as well as immediate prescriptions that are effective and enjoyable.

(Who doesn’t want the bubble-gum flavor medicine?)

Singers also need additional remedies from their director, like positivity and humor.

Most importantly, inexperienced singers require preventive measures completed by the director, to ensure new or difficult music is performed correctly and healthfully.

Prescriptions Vocal Modeling – This prescription can be used in a variety of ways, depending on what you are trying to improve

(tone, pitch, line, etc.). Often, it helps to first model how the singers are currently performing, in an exaggerated manner, and then model what you would like to hear.

Sing It the Wrong Way, Once!

– Inexperienced singers seem to rely on muscle and aural memory, so sing it the wrong way one time only. After that, sing the passage correctly multiple times and have the choir memorize it right away.

Change the Tempo – If you rehearse a passage too fast, you will lose the singers. Slow the tempo and as they become more successful, gradually increase the tempo. When working on expression in a slow piece, try practicing it at a tempo that is too fast. As a result, singers will understand the slow tempo and why it works well for that particular piece.

Isolate, Repeat and Vary – It depends where the problem lies. If text is the problem, speak it without pitch or rhythm. If pitch is the problem, sing pitch by pitch on a neutral syllable.

Finally, if rhythm is the problem, try echo clapping the rhythm or counting aloud without pitch.

Remember, many singers rely on muscle memory at this

stage in singing. If there is one specific interval that was sung incorrectly, do isolate and repeat that small chunk of music until the entire section sings it confidently. Whatever you do, do not just rehearse the entire section in the same way over and over. Singers become bored quickly, rehearsal time is wasted, and the problem might not actually be corrected. To vary the repetitions of a passage, sing at a different dynamic or add articulation and expression.

Say the Same Thing in a Different Way – All people respond to language in distinct ways. Use another analogy, vary your tone, or involve the choir and call on a singer to explain a concept in their own words. Observing more experienced directors, as well as reading books and articles on singing and conducting can supply new ideas.

Additional Remedies Stay Positive and Employ Humor – Whether singers respond to the above prescriptions, stay positive!

Humor inserted at the right time can lighten the mood of a serious rehearsal, and it feels good to laugh together.

A greater sense of community will help the choir work together when rehearsal is challenging.

Have the Entire Choir Sing a Difficult Passage – This builds on the first remedy. Suddenly, the entire group takes ownership of the music and can empathize with each other. Having everybody sing simultaneously will also eliminate behavior problems.

Encourage Effort Over Accuracy – Especially with middle school age singers, effort is key. Some days their voices might not be up to the challenge of singing an octave leap to a high F. Usually, if all singers put forth their best effort, accuracy will naturally occur. Also, assure the choir that is okay if they do not perform music correctly the first time. Failure is okay. What the choir does after they stumble musically is much more important. Continual effort is key.

Know When to Move On – Conversely, we all know the feeling of “beating a passage to death.” If you move on before morale decreases, your rehearsal will be more productive overall. As directors, we do not always immediately think of the best way to attack a musical problem during rehearsal. When you move on, it gives you time to reflect and consider a suitable and successful approach for future rehearsals.

High Praise & Physical Response – Young singers respond very well to high praise.

Make a big deal when the choir finally sings it right. Jump up and down! Shout for joy! Excitement will affect the singers positively.

Many experienced directors do this, and it makes observers smile too!

Preventive Measures Know the Singers - Depending on your specific situation, you might know what your choir is capable of before the first rehearsal. If not, give yourself time to find out their ranges, aural skill level, and maturity level. During those first few weeks of rehearsal, work on unison singing, rounds, basic to intermediate sight-singing skills and community building.

Repertoire Selection – Select a wide range of repertoire, some accessible and some more challenging, slow and fast tempos, as well as a variety of styles. Select more pieces than really needed and weed out the music that does not get a great response from the choir. (If the choir does not respond to a “tried and true” piece right away, do give it more time. After they know the piece well, it could become their favorite.) The songs that are too difficult at the start of the year, might work nicely on the next concert. The audience would rather hear simple music performed beautifully, than challenging music performed poorly.

Know the Scores – Score study informs interpretation and

rehearsal technique. Proper knowledge of the score increases potential for better rehearsals and more expressive performances.

Prepare Singers Through Warm-ups – Singing skills must be taught during warm-ups. Also, employ the ear before the eye.

Practice singing tricky intervals or saying tongue twisters from the selected repertoire. Good reading teachers introduce new vocabulary before reading a difficult passage, and music teachers must do the same. In addition, if singers do not connect the skills learned during warmups, to the skills needed for repertoire, refer back to it for them. Another option is to teach the warm-up right before rehearsing that particular piece.

Remember, young and inexperienced choirs need more than a diagnosis from their directors.

Use direct prescriptions for musical problems, such as vocal modeling, isolation, and repetition of difficult passages.

Prevent rehearsal problems by being prepared as a conductor and preparing singers through warm-ups. Stay positive throughout the process and have fun with the choir!

Synchronicity Rebecca Raber, Past President/Membership One of my goals this fall was to help my students recognize and realize the connection that music has with almost every other school subject.

As I gathered information, I quickly realized that I was going to have to relinquish a coveted Saturday morning to the cause, as the busy school weeks were already starting to get away from me. I began searching for videos for my students, and I encountered one on YouTube about “synchronicity” that has left me preoccupied instead!

As a devoted child of the 80’s, I hear the word “synchronicity,” and I immediately recall the 1983 hit by the Police (click HERE to relive this 80’s moment...go ahead and dance if you’d like).

To be clear, I’m not referencing the original Jungian concept, precisely; rather, I’m alluding to the tendency of objects, both living and inanimate, to become physically synchronized. What?

Inanimate objects?? Don’t believe me? Watch THIS...2 minutes and 45 seconds is a satisfying moment.

In the first few minutes of Steven Strogatz’s Ted Talk VIDEO, the presenter recalls to the audience the applause that occurred as he first walked on stage.

It was typical...unorganized and random. Next, he wonders, if

asked, might the audience be able to clap in unison? They try it. In less than two seconds, the audience matches their clapping perfectly in rhythm.

There was neither direction, nor an assigned leader, yet they synchronized themselves perfectly without effort. It is a fascinating thought...this “connecting principle.”

By merely sharing the desire to do so, the audience members achieved synchronicity.

Never missing an opportunity to “nerd out” over something like this, I began to wonder about synchronicity and musical performance, and I became overwhelmed with other questions.

What is this “invisible” concept? Can it really be this easy? Is it a feeling? A pedagogical technique or methodology?

What can this teach my singers? What can it teach me?

What does it mean for the audience?

This concept of synchronicity applies to our profession on multiple levels...not least of which, is our daily rehearsal.

We know that when choirs and conductors are “in sync,” rehearsals become magical.

Time passes without effort, and before we know it, beautiful music has been sung and

rehearsal is over.

How does one encourage this during rehearsal? How can your time in rehearsal affect your audience (that is, beyond the expected mastering of text, pitches and rhythms)?

•!Try to anticipate what your choir might “need” from you before they even !arrive in your classroom. Are they grumpy from the third consecutive week of -20 !degree temperatures? Is it the stressful week before finals where they need a !s e n s e of calm? Do you feel like they haven’t bonded as a section or ensemble? Your ensemble feeling as if you “know” them might encourage reciprocation of the care and attention you offer them.

•!U s e s i m p l e m i r r o r i n g techniques in your warmups, either as a physical exercise, !o r as a call and response vocalise.

Ask...train them to respond to you and trust you. Incorporate !surprises so they have to follow you so closely that it seems that you are !“ one.” Recalling the video that I linked above, there is a scene where a flock of birds is flying !t o g e t h e r, s k i l l f u l l y swooping through the sky as if by design. In reality, there is !one bird that is the first to change directions, but the flock is so “in tune” with !e ach other, that it appears as if the birds are all moving in unison, according to a !d esigned plan, yet it is almost imperceptible.

•!A s k t h e m t o c o n d u c t a d i ff i c u l t p h r a s e w i t h y o u during the music. Teach them to !use the gesture that you will use in performance (not necessarily patterns, but !p h r a s i n g and expressive “left hand stuff”) From that point on, their brain will !recall what you want from them and they will sing exactly what you are showing !them in performance.

•!A llow your singers the physical freedom to move just a bit with the music. !S t r i k e a artful balance between being rigid and making the audience seasick. :) •!A l w a y s encourage expressive faces in your rehearsals...from yourself and your!s i n g e r s .

This is, perhaps, the most important element. There are singers and conductors who struggle with this, so it takes frequent attention and dedicated time.

This is where a conductor ’s artistry and personal connection with the ensemble shines forth.

If the conductor’s face is sincerely !e x p r e s s i v e , t h e ensemble will reflect that.

The audience sees the singers’ faces. !T h e i r b r a i n s collectively recognize their

emotion and they begin to feel it !themselves within their being.

To have everybody experiencing the same feeling !in the same moment in time

is something inexpressible.

Nature repeatedly demonstrates that things far less “intelligent” than humans find safety, importance, and meaning in synchronicity (watch the full 23 minute Ted Ta l k v i d e o f o r m o r e fascinating examples).

And yet, it seems that the more “advanced” we get, the less we seem to want to show that we need e a c h o t h e r .

How many times have see our students absorbed in t h e i r phones...texting, taking photos, posting to “social” media? They text to ask another student on a date rather than speaking to them.

They miss the moments happening right in front of them! I’ll admit, I’m as guilty as anyone. However, I will say that the sense of “ensemble” is the reason why I’m in the choir business.

Being part of something that is bigger than just yourself is important to me, and I hope, to my s i n g e r s .

R e h e a r s i n g , learning, and spending time together in pursuit of an artistic vision and personal enrichment is very fulfilling.

It is a metaphor for our feelings of belonging and acceptance in the world.

I hope this brief offering provides a means of discussion and inspiration for further exploration! Really, it is also a gateway into the also fabulously interesting topic of MIRROR NEURONS. If you are interested in finding out more, there are several good videos and articles available.

Please contact me for more information!

With one breath, with one flow You will know Synchronicity.

A connecting principle, Linked to the invisible, Almost imperceptible, Something inexpressible.

If you act as you think, The missing link, SYNCHRONICITY.

Car toon Corner

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Cody Gerszewski is an amateur cartoonist from Fargo, North Dakota. After graduating from Red River High School in Grand Forks and singing in choirs for Tom Young and Brad Sherwood, Cody joined the “Thundering Herd” and is currently attending North Dakota State University where he is pursuing a degree in Theatre Arts with a minor in Music, and has been a member of the school’s Concert Choir for four years under the direction of Dr. Jo Ann Miller.

brent@internationalmusiccamp.com

Surround the State in Song!

ND ACDA will be hosting Surround the State in Song in SIX locations this year on October 11th.

Fifth and Sixth grade s t u d e n t s will rehearse throughout the day and present a concert the same day at 4:00 p.m. in Minot, Dickinson, Bismarck, Fargo, Grand Forks, and Jamestown!

Titles for this year’s Surround the State in Song include The Star Spangled Banner; Happiness, arr. Greg Gilpin; We Will by Jim Papoulis; Rhythm of the Rain by Jerry Estes; Hine Ma Tov by Naplan; and Autumn by Andy Beck. Students involved in Surround the State in Song will also be invited to perform at ND ACDA’s State Convention. Don’t miss the music!

Christmas at Mary SATURDAY, DEC. 6, 7:30 PM • SUNDAY, DEC. 7, 3:00 PM

Dr. Tom Porter Director of Choral Activities Katherine Henjum Associate Professor of Music, Voice Contact the U-Mary Music Department to learn more: music@umary.edu www.umary.edu/music 800-288-6279, ext. 8301

The University of Mary Music Department is defined by a commitment to excellence.

Vocal music students have the opportunity to study Concert Choir, Vocal Jazz, Vocal Arts Ensemble, Chamber Choir, Musical Theater, and Private and Class Voice Lessons.

Scholarships are available for music majors as well as students majoring in other areas who participate in music ensembles. Audition dates for 2014–2015 are December 6, January 30-31, and February 16. Students may contact the music department to arrange a campus visit and scholarship audition on a different date. Students living more than 250 miles from campus may send a recorded audition.

The Power of Music Cheryl McIntyre, Children/Community Youth Choirs R & S Have you ever stopped to consider the opportunities our young people can experience? I believe music allows us the chance to create POSITIVE opportunities for these students. Who can benefit from these musical experiences? Students who struggle to understand many subjects, students who are hoping to pursue college scholarships, students who are involved in multiple activities in school, as well as students who avoid interaction with others. Music teachers deal with such a wide range of students. The challenge is: How do we engage all of these students?

• Selecting a variety of musical styles can lead to an interest in music they have never imagined.

• The choral music classroom allows an element of learning about music and life.

• It gives students an opportunity to participate with others who have similar interests in a noncompetitive environment.

• Instructors guide students through the process of setting goals and help them realize the completion of each step along the way. Music instructors assist students in learning to focus their energy in order to accomplish their goals.

•D i r e c t o r s a s k students listen intently to others.

• In each class period, a music instructor does numerous f o r m a t i v e assessments, interacting with students to reshape their understanding and their performance. We do not wait for the final assignment to decipher student understanding. This is a minute to minute process.

In my own high school classroom, I have state champion volleyball players, student council members, cross country runners, swimmers, actors, soccer players, dancers, football players, artists, and those that devote their lives to reading. Some students have difficulty relating to other students. Some students are competitive; some avoid all competition. Together, they create a wonderful mix of experiences to share with each other. It is my job to create an environment which encourages and allows each student to flourish.

We can capitalize on the idea of teamwork in a music classroom. Do we take time to celebrate the accomplishments of all of the students?

Many schools offer additional ensembles and classes to further music education such as a theory class, vocal jazz, show choir, children’s choir, and voice lessons. Opportunities such as honor choirs and EDC or WDA offer those competitive students an opportunity to achieve.

They also assist students in preparation for future scholarship auditions. In elementary school through high schools everywhere, students are trying to find where they belong or fit in. Help our young people crave music as that activity to fill the void. By offering a variety of opportunities in music, they may find that being in your classroom is the best part of their day. As the music instructor, help our students enjoy the power of music in their lives.

Multicultural Music Sara Lichtblau, Ethnic/Multicultural Music R & S Hello and welcome back to another great school year! As the R & S contact for Multicultural Music in ND, I received a lot of great music from publishers over the summer.

A couple to highlight would be Thula Klizeo by Joseph Shabalala arr.

Leanna Macdonnell, 2-part, Pavane Publishing, P1433; Hakuna Mungu Kama Wewe arr.

Kirk Aamot, SSA, Hal L e o n a r d 00124291.

Thula Klizeo begins in unison with percussive sounds beginning in measure 5 with a “sh” sound. It has a rhythmic intensity that would challenge younger singers but is easily accessible at the same time. There are instructions on how to perform the body percussion in the music and on the website. The African text is easy to sing and the English translation is incorporated into the song which will help the singers to understand the music.

There are some 3 part notes suggested on the final page but would not have to be added and it has p i a n o accompaniment throughout.

My colleague, James Wolter, has been working on Hakuna Mungu Kama Wewe with the freshmen women’s choir.

They are enjoying the rhythmic vitality of the piece, singing the African language and having success with the melody after just a few rehearsals. Singing in unison until measure 16 allows this piece to be used as a processional, as the arranger has s u g g e s t e d .

Instruments may be added and some simple movement would make this piece a great opener for any concert.

Pathways...Sharing Gifts Sarah Barnum, East Representative In 2010, Melanie Popejoy won the ND ACDA Director of the Year Award.

At the state convention, she spoke about the book “Pathways” by Joseph Alsobrook.

She covered all the aspects of the book which are broken into five gifts – the gifts of love, attention, accomplishment, boundaries and fun. Her enthusiasm and passion for her students shone through the presentation and inspired me to read the book. It is an easy read in 214 pages with many inspirational quotes, humorous stories and lists that make it very practical and immediately usable by music educators.

The Gift of Love – Alsobrook takes scenarios that are applicable to many music classrooms and gives short, concise ideas of how to address each issue. I’ve dogeared several pages for quick reference. Alsobrook states: Making students feel welcome, important and appreciated is vital to building long-term, productive relationships. For those who are committed to enriching lives through music, this is a constant priority. There is a direct correlation between achievement and self-

confidence; students who believe in themselves are no strangers to success.

High expectations say: “you are important to me, I believe in you”.

The Gift of Attention – Alsobrook points out obvious but critical information. We’ve all been in those ensembles that meet once every three days for 40 minutes with 90 students who all look the same!

His focus in this chapter reminds us that our students need us to really see them. One of his tips is to make sure that each student’s name is visible somewhere in the room. When you have over 300 students, it can be a challenge….and here’s how I’ve done it.

The Gift of Accomplishment – Alsobrook encourages us to engineer student success by allowing them to show grow through internal and external accomplishments.

This section includes a number of rubric and charts that can be easily modified to work in your individual classroom.

• The Gift of Boundaries – Alsobrook begins this chapter by reminding us to teach our

students to C.A.R.E.

*Communicate *Attend all rehearsals and performances *Respect property and each other *Execute rehearsal proceduers His attention to detail encourages directors to take swift action, before molehills become mountains.

The Gift of Fun – this is a lesson I’ve taken to heart. Our students come to our classes because music is FUN! Don’t take that away from them, it’s okay to use a pop-style (with appropriate text) as a warm-up once in a while. We have to remember not to take ourselves too seriously. Share what you love to do with your students and ask them to share what they love with you.

Having fun keeps students engaged in what is happening in your classroom.

Alsobrook, Jospeh. Pathways: A Guide for Energizing and Enriching Band, Orchestra and Choral Programs

We Need Your Help Driving Membership Up! From September 15 through November 14, ACDA is holding a nationwide membership campaign that aims to take us to new membership heights. We need your help!

Colleague Referral Program- Call (405-232-8161) or email (singup@acda.org) us to receive your complimentary Referral Kit – there are thank you rewards for both you and any new members who join based on your referral.

Student Membership Initiative- For participating states, our student membership discounts are being renewed. That’s a dues price of only $5 for new student members, with states and the national office covering the rest.

For more information, visit www.acda.org/singup.

ICEP Conducting Fellowship Joshua Bronfman, University of North Dakota North Dakota ACDA is very pleased to announce that the 2015 International Conductors Exchange Program (ICEP) with Sweden includes one of our very own, Josh Bronfman!

ICEP is providing opportunities for the next generation of choral leaders to represent the United States as ambassadors to the world in the exchange of music, ideas, and cultures. In 2015, ACDA will host fourteen choral conductors from Sweden who will travel to the United States to be official guests in each of the seven divisions and at the National Conference in Salt Lake City, Utah. In turn, the Swedish Choral Directors Association (SCDA) will host fourteen U.S. conductors to be official guests at the Scandinavian C h o r a l Convention in Stockholm, Sweden, in October 2015.

In a brief interview, Joshua provided some further information about the fellowship.

Please explain what the ICEP Conducting Fellowship program is.

It is an exchange program sponsored by ACDA with leaders from the U.S. choral

Ericson devotee, so t h e opportunity to visit his homeland was something I couldn't pass up.

What are the responsibilities/ opportunities of the program?

We are still waiting to here the specific details, but we basically do an exchange with Swedish conductors here and in Sweden.

community and their international counterparts. The upcoming exchange involves Swedish conductors coming here and being hosted by the US representatives, and then the US Fellows going to Sweden to work with them.

What do you look forward to most about your time in Sweden?

Making personal connection with Swedish musicians. It's the personal connections in life that are the most important.

CONGRATULATIONS JOSHUA!

What led you to apply?

My dissertation is on Swedish Choral Music and the composer SvenDavid Sandstrรถm. I haven't been to Sweden, so I saw an opportunity for further research. I'm a huge Eric

More information about the ACDA / ICEP Exchange Program may be found here: http://www.choralnet.org/ 280632

Tips From a Jr. High All-State Choir Judge 1. As a learning tool, perhaps listen to the recording with the student to listen for scooping. Re-record to see if the scooping can be addressed.

2. Same thing for breathiness and intonation.

3. Try to sing the "t" on "sweet land" in America.

4. If the introduction to the solo is long, shorten it. I could have gone for coffee on some of those intros.

5. Unless a student never scoops, avoid Amazing Grace.

6. Listen to the recording to ensure that the piano does not overwhelm the voice.

Good luck to all teachers and students!

Meet our Members

Name: Jean Dunn-Gefroh Colleges: Bismarck State College and Dickinson State Major: Vocal Music K-12 Year I Began Teaching: 1985 Schools: Center Public Schools & Mandan Middle School Most Memorable Moment: Taking 120 students to Washington D.C. and singing amongst 3000 other students (other choirs) in a festival called "America Sings" on the capital mall singing the exact same song! It was truly remarkable!

Name: Jo Ann Miller College/s: NDSU, UND, Cincinnati College Conservatory of Music Major: vocal music education, choral conducting and literature Year I began teaching: 1974 School/s you have served:Arthur /Hunter public schools, Fargo Ben Franklin Junior high, Jeffeson, SD public Schools, forest grove, Oregon, university of Wisconsin-la crosse, NDSU Most memorable moment teaching music: my second year of teaching....a choir that didn't yet know or respect me...the terrible moment where I knew I couldn't control them...crying in the ladies room....and the sweet girl who came in to comfort me. Things got better.....there is so much to learn in our field. It's good to know we can always improve!

Name: Heidi Olson College: Jamestown College/University of Mary Major: Music Education/School Counseling Year I began teaching: 1997 Schools you have served: Yellow Medicine East HS, Granite Falls, MN and Harvey HS. Most memorable moment teaching music: Singing the national anthem at the Veteran's Hospital in Chicago and seeing the joy and pride it brought to my students and the veterans alike.

Name: Kathryn Fiedler College: Concordia College Major: Music K-12, vocal and instrumental; Elementary Education Year I began teaching: 1974 Schools you have served: Teaching now this my 40th year, all at Kelly Elementary in Grand Forks Most memorable moment teaching music: taking 3 choruses to Winnipeg as our year-long "Hands Across the Borders" music/ friendship exchange 1979-1992; Having 91 Kelly Chorus singers perform for Hillary Clinton and Barack Obama in 2008 and for Bill Clinton in 2012 at the Alerus in GF; but probably the best is the realization of what kids expect from us on a daily basis, not just the big performances: last year a first grader handed me a carefully worded note the first week of school saying: "Mrs. Music - thank you for what you will teach me this year".

Photo Flash!

Photo Flash!

NDACDA Teacher Recommended Links:

Check it out!

www.musictheory.net www.sightreadingfactory.com www.musicnotes.com www.teacherspayteachers.com www.cpdl.org www.imslp.org www.tumblr.com www.wix.com www.ustream.com www.symbaloo.com www.picmonkey.com www.issuu.com www.choraldirectormag.com ACDA Publications Adjustable Spinner (for classroom games) www.musicanet.org www.choralia.net www.ipasource.com www.teoria.com www.remind101.com www.soundation.com www.screencast-o-matic.com www.wordle.net www.tagxedo.com www.printfriendly.com www.piktochart.com artsongcentral.com www.socrative.com Mrs. Friedman’s Resources www.thepracticeroom.net www.choralnet.org www.edutopia.com